Hollywood's Sexiest Man Alive, Chris Hemsworth, paid tribute to his actress wife as he collected the Excellence in Film Award at the 2015 G'Day USA Gala and Australian Academy of Cinema and Television Arts International Awards in Hollywood on Saturday night (31Jan15). The Avengers star and Elsa Pataky took time off from parenting duties to attend the annual gala and the Spanish actress had to listen as her husband's co-star Scarlett Johansson gushed about her man as she presented him with his latest accolade.
Recalling a moment when the Thor star fell asleep on a plane during The Avengers press tour, Johansson told the audience, "Chris decided to take a little cat nap. He collapsed into a giant perfect heap, his lion's mane gracefully falling around his prominent chiselled features."
And, hoping that "some of his stardust would drift my way", the actress added, "He's all at once sensitive and ferocious, otherworldly and grounded, is shockingly handsome and is surprisingly approachable. He is every man and like no man you've met before. He is versatile despite his physicality, which makes him a grade A movie star."
Hemsworth then took the stage at the event and gushed about his wife, Fast & Furious 6 star Pataky, calling her "the greatest thing I've gotten over the last few years", adding, "Thank you very much to everyone, but especially my wife."
Pataky is the mother of Hemsworth's daughter India Rose, two, and twin sons, Tristan and Sasha, who were born in March (14).
The actor's brothers Liam and Luke also joined the party, which was hosted by Nicole Kidman and Geoffrey Rush.
The Australian Academy of Cinema and Television Arts also honoured Birdman as its Best Picture and Michael Keaton as Best Actor, while Still Alice's Julianne Moore landed the Best Actress award and J.K. Simmons (Whiplash) and Patricia Arquette (Boyhood) continued their winning streaks as Best Supporting Actor and Actress.

Singer Kesha has become embroiled in a nasty legal battle with top producer Dr. Luke after accusing him of sexual, physical, verbal and emotional abuse.
The "TiK ToK" star has filed suit against the hitmaker, real name Lukasz Gottwald, claiming the abuse she experienced while working with him led to her 60-day stint in the Timberline Knolls rehab clinic in Illinois earlier this year (14). In the lawsuit, obtained by TMZ.com, she alleges Gottwald has been abusive towards her since signing the singer when she was 18. Kesha claims he once forced himself on her after making her take drugs and drink alcohol on a plane ride, and she once woke up naked in his bed after taking unidentified drugs with no recollection of what happened. He also reportedly physically attacked her at his home in Malibu, California and now the 27 year old is asking a judge to release her from her contract with him. Kesha's lawyer Mark Geragos tells TMZ.com, "This lawsuit is a wholehearted effort by Kesha to regain control of her music career and her personal freedom after suffering for ten years as a victim of mental manipulation, emotional abuse and an instance of sexual assault at the hands of Dr. Luke. "The facts presented in our lawsuit paint a picture of a man who is controlling and willing to commit horrible acts of abuse in an attempt to intimidate an impressionable, talented, young female artist into submission for his personal gain. Kesha is focused on moving her life and her career beyond this terrible time." However, Dr. Luke has fired back at Kesha with his own legal papers, insisting the allegations are all lies. In his countersuit, Luke reveals Kesha has reportedly been attempting to extort him for months by threatening to file the case in court unless he agrees to free her from their contract. His lawyer, Christine Lepera, alleges both Kesha and her mother Patricia Rose 'Pebe' Sebert have privately confessed to making up the sensational statements and she tells TMZ, "(Kesha's abuse lawsuit is part of) a campaign of publishing outrageous and untrue statements (about Dr. Luke)."

British actors Laurence Fox and Jack Huston are both battling cracked ribs during their stint on the London stage in an adaptation of Strangers On A Train. The injuries are reportedly proving tricky for the pair as they have to stage a physical fight scene in the play, based on the novel of the same name by Patricia Highsmith, which was turned into a thrilling 1951 movie by Alfred Hitchcock.
The show's co-producer Michael Rose tells Britain's Mail on Sunday newspaper, "Laurence got his because he had a chest infection and coughed so much that he cracked a rib. Jack... I couldn't get to the bottom of how he did that. Perhaps because of the physical exertion of the show."
A spokesperson for the show was also unable to ascertain how Huston broke his rib.

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When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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Looking at Glee's latest episode, its tribute to recently deceased star Cory Monteith, with any large sum of objectivity would be an act of futility. It is almost impossible to separate yourself, your own feelings about the character, the actor, his cause of death, about your loved ones, about death, when watching an episode as powerful (albeit not flawless) as "The Quarterback." It's hard to have a reaction to this particular episode that is anything short of wholly personal. So here that is.
I returned to Glee this season after a two-year absence, having fallen out of love with the program early on in Season 3. Appreciating musical theater, reveling in the dark wit, and relating (as most Internet writers probably do) to the feeling of high school ostracism, I took a lot of delight in the early, pithy days of the series. Returning for Season 5 out of professional obligation, a love for The Beatles, and a hope for a cathartic influx of tears regarding Monteith's passing (one that I got, in spades), I found myself unfamiliar with some of the new characters and plot points. But the themes carried out in this episode in particular were recognizable ones.
Surprised to see that Kurt would have no solo song of his own, I was relieved when the narrative opened through his internal voiceover, lamenting the death of his step-brother and returning to Ohio for the funeral. Two years after I had severed ties with Glee, Kurt was still in awe of the superman (I believe he uses that very terminology) that his crush-turned-friend-turned-brother always seemed to be. Unconditionally strong in character.
Remembering fondly the difficult, dense relationship shared by Finn and Puck, I was pleased to see how Glee handled this corner of the story: with troublemaker Noah feeling as though he had lost his beacon of integrity, his Jiminy Cricket, and fearing his own descent into any number of unimaginable horror stories as a result. Puck's turn in the episode is perhaps the most interesting. As we all tend to be in regards to the passing of a loved one, he is worried about himself. It is not aa maliciously selfish quality to uphold, but a natural one. The people we care about aren't always independent entities — because of their importance to, and effect on, us, they become functions of us. Part of us. Without this part of him, perhaps the best part, Puck worries that he's only left with the bad.
Similarly, Santana cannot bring herself to be the kind of person she would have liked to for Finn, and for all those others who loved him. Having maintained a vicious air as a defense mechanism for so long, she finds it most difficult at this point to drop this guard, despite wanting to, so very badly. And no, despite efforts, she doesn't exactly bring her wishes to fruition. That is what seems most effective about Glee's tribute. Yes, people come together — Coach Beiste takes care of Puck, Kurt looks out for Santana, Emma tries to provide comfort for Mr. Schu — but people also lash out. Everyone, out of grief and prejudice, is diabolically unkind to Puck. Mr. Schu is dishonest and disloyal to his students in his theft of Finn's Letterman jacket. Sue keeps her revolving door of venom spinning toward everyone, eventually relieving herself of the weight of the same defense mechanism that plagues Santana when she is brought to admit that she thought so highly of Finn. There is a lot of imperfection in the way these people behave. And that's the best way to go about something like this, because it rings the most true.
Of course, we're waiting the whole episode through for Rachel to make an appearance, which she does towards the end. She sings. She offers smiles and tears to Mr. Schu. Then she retreats to not knowing what she'll do next and not being certain that things can ever be okay again. It doesn't end on the same uplifting or hopeful note for her that characters like Puck and Santana are treated to. That, again, is honest. We don't know if she'll be okay. Just like we don't know, when someone close to us dies, if we will. And in this authetnticity, we find a really grounded tribute to Finn, and to Cory.
For all its flaws — the two big ones being no appearance of Diana Agron, whose character was so important to Monteith's, and the bare minimum of focus on Finn's mother — we can call "The Quarterback" really touching: wholly sad, wholly real, wholly honest. There is no appropriate way to organize comfort in the wake of a loved one's death, but the most essential, most healthy, most powerful was to approach the tragedy is with honesty. And for this, those returning fans and those who've been loyal through the seasons can pay thanks to Glee for this tribute.
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Fans of Glee have been waiting to say their goodbyes to star Cory Monteith since his death in July, and next week they will get their chance, along with the rest of McKinley High. "The Quarterback" will serve as the show's tribute to Monteith and will show the characters grieving over the death of his character, Finn Hudson. You know, because watching Lea Michele's Teen Choice Award acceptance speech didn't make us cry hard enough. The first promo for the episode has been released, and it promises to make even the least-invested Glee fans shed a tear.
The short preview cuts between members of the glee club putting together a shrine for Finn in front of his old locker and shots of Kurt and Rachel crying, scored to Michele's cover of Bob Dylan's "Make You Feel My Love". The song will reportedly close out the episode, and will also be the only time that Rachel appears during the hour — although, based on the preview, her performance will be heartbreaking, no matter how much screentime she has. According to showrunner Ryan Murphy, "The Quarterback" will not reveal the cause of Finn's death, and will open after his friends and family have already received the news. Several characters who left the show are set to come back for the episode, incuding Mercedes (Amber Riley), Puck (Mark Salling), Finn's mother Carole (Romy Rosemont), and his stepfather Burt (Mike O'Malley).
Although many current and former Glee fans have had their reservations about the epsisode — after all, Murphy isn't particularly known for his tact — the episode promises to be a loving tribute to a close friend and beloved costar. Murphy revealed that the episode was incredibly difficult to film, and the cast and crew were overwhelmed at times: "Those performances that you'll see, almost everything in that episode is from the first take of every performance because the actors and the crew had a really hard time shooting it. I've never seen a crew that you can't continue shooting because they've left the room sobbing."
"The Quarterback" will air on October 10, after which the show will take a hiatus for baseball playoffs, and the writers are planning to use the time off as an opportunity to figure out the best way to continue without one of its main characters. Watch the preview for the episode below.
More: 'Glee' Season Five Premiere Recap: How To Misuse The BeatlesRanking the 'Dancing With The Stars' Cast In Order of RelevanceDemi Lovato to Romance Naya Rivera on 'Glee'
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Folks, it doesn't look like Grace of Monaco is quite Oscar-worthy material... or at least that's what we can take away from The Weinstein Company's decision to push its Grace Kelly biopic to Spring 2014. According to The Hollywood Reporter, the Olivier Dahan-directed (La Vie en Rose) film will not be released in time to qualify for this year's Oscar race because TWC believes that it needs more time to be completed.
The film, which chronicles six months of Kelly's life after retiring from Hollywood and transitioning to a life with Monaco's Prince Rainier, was originally set to be released Nov. 27, a date ideal for Oscar season. It was rumored that Nicole Kidman's performance as Kelly in the biopic would place her in line for a possible Oscar for the Lead Actress category, but it seems like TWC might be nervous about the caliber of the film and its Oscar competition. Had the Weinsteins decided to release the film this fall, Kidman would have most likely gone up against other lead actress contenders such as Judi Dench (for Philomena), Meryl Streep (for August: Osage County), Cate Blanchett (for Blue Jasmine), Emma Thompson (for Saving Mr. Banks), and Sandra Bullock (for Gravity). A tough battle, to say the least.
The move to bump Grace of Monaco to Spring 2014 will position it as more of a commercial entry than an awards play: another sign that the film is relatively weak compared to other films coming out this fall. Until some unknown time in the spring, speculators of the film will just have to rely on the opinions of HitFix Awards Campaign editor Gregory Ellwood, who viewed some of scenes of the film at the Cannes Film Festival: "This sneak didn't convince anyone in the room that 'Grace' is anything more than a Kidman showcase (not yet, at least). Although, it certainly does look pretty. Is it a hit? That remains to be seen."
More:Nicole Kidman Plays Princess in 'Grace of Monaco' -- PicsNicole Kidman Saves a Nation by Being Beautiful in 'Grace of Monaco' TrailerToo Far, Paparazzi: Nicole Kidman Hit by Bicycle in New York
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Valery Hache/AFP/Getty ImagesFrench film actor Marion Cotillard isn’t a household name here in the States just yet, but her next few films might change that. Now that she is officially a favorite of director Christopher Nolan’s (having taken lead roles in Inception and The Dark Knight Rises), and now that we’ve all seen her unforgettable Golden Globe-nominated performance in the absolutely brilliant Rust and Bone (because we’ve all seen it...right???), it’s time to mentally prepare for more amazingness from this woman. Lest we forget that she was the second French actress ever to receive a Best Actress Oscar, for La Vie En Rose, here are five upcoming projects that could lead to more well-deserved accolades for the star.
Blood Ties
Cotillard will star alongside Clive Owen, Zoe Saldana, and Mila Kunis, which is awesome. But the most exciting thing about the film is that she’s re-teaming with her Rust and Bone co-star Matthias Schoenaerts, and Guillaume Canet -- who starred in one of her early hits, Love Me If You Dare, and is directing Blood Ties.
Macbeth
Four words: Michael Fassbender is Macbeth. Okay, a few more words: Cotillard is Lady Macbeth. Seriously. Need we say more?
The Little Prince
Based on the beloved novel by Antoine de Saint-Exupéry, Cotillard will take on her first animated feature. She’ll be voicing a character in the exciting new adaptation, along with James Franco, Rachel McAdams, and Paul Giamatti.
Two Days, One Night
The only French film on this list, Cotillard will team up with the critically acclaimed Dardenne brothers. Jeanne-Pierre and Luc Dardenne have been winning audiences and critics over throughout the years with films like The Kid With A Bike, L'enfant, and The Son; now they’ve enlisted Cotillard to play a wife who has one weekend to convince her co-workers to give up their bonuses so that she can keep her job.
The Immigrant
Cotillard is sure to deliver a brilliant performance in this 1920s drama, as she plays a Polish immigrant forced into prostitution upon her arrival into America. Even as she stars alongside the likes of Joaquin Phoenix and Jeremy Renner, we expect the French star (who learned Polish jsut so she could speak with the appropriate Polish-American accent) to really stand out.
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James Wan might have won the summer this year. After superhero shrug after superhero shrug, Wan's two films, The Conjuring and Insidious: Chapter 2, both cracked the top box office spot despite being modestly budgeted horror films. While studios love to churn out generic slashers with cheesy CG blood, Wan has been working with great writers and small producers to make some of the best wide-release horror in years. Even Joss Whedon (Avengers director Joss Whedon) had a years-long battle to get his subversive Cabin in the Woods a meager release. But somehow, The Conjuring has been in theaters for two full months, despite an R-rating that wasn't from nudity or gore, but simply for being too scary. Years ago, when Wan burst onto the scene by directing the first, best Saw film, it seemed as if he was gleefully throwing his hat in the "torture porn" arena that was just beginning to form. But after leaving that franchise juuust before it completely jumped the shark, Wan stuck with small movies and has continued to become one of the scariest directors in the business. So today's press release announcing another Insidious sequel should have been great news for him.
But Wan, currently working on the next Fast &amp; Furious movie, is deadset against returning not just for a part three, but to the entire horror genre. Considering the movie essentially ends on a cliffhanger, it should be no surprise that aside from the studio, the person most excited to return to the Insidious universe is writer Leigh Whannell. And while he certainly helped to shape these two very good, very scary films, horror is a genre that owes a lot to its directors. Choreographing moments, coaxing out terrified performances, managing effects and camera angles... the director could make or break this film.
How wise is it to continue on without Wan — or any director in mind? Sure, there are several successful horror series that have survived without a consistent director, but they're the Paranormal Activities and Final Destinations and (ahem) Saws of the genre. It's a shame Wan, who has sheparded the Insidious series with so much thought, would leave it just as it truly cemented itself as a hit. Then again, if there's any series that has thrived the longer it's been in production and the more the key players have changed, it's the Fast &amp; Furious...es. At least we can look forward to Wan's contribution there.
More:'Insidious: Chapter 2' Writer Leigh Whannell Talks Sequel!'Insidious: Chapter 2' Makes the Unknown Terrifying'Insidious: Chapter 2' Featurette
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Shadows and the dark, the purest representation of mystery, the unknown manifested. Director James Wan is at his best when playing with those simple elements. His sequel to the mostly creepy and mysterious Insidious, simply titled Insidious: Chapter 2, works best when characters must confront the dark. "In my line of work, things tend to happen when it gets dark," says a young Elise Rainier (Lindsay Seim), a medium in Wan's film. She seems to be channeling her director here.
Wan's horror comes from the psychological baggage of his characters. He is more interested in nightmares than in ghosts. "I've seen things with my own eyes that most people have to go to sleep to conjure up," says Rainier's former assistant Carl (Steve Coulter). It's the unconscious that brews up spirits for Wan, hence his interest in childhood traumas and how they serve to encumber our lives and ultimately make them terrifying. Transporting childhood fears to adulthood is key to Wan’s talent, even if he relies on tropes like musical stings, swish pans, and the anticipation of that frightful thing hiding in the dark. Beyond these devices, the Insidious films work best when they play with the edges of threat and mystery. Wan also deserves extra credit for keeping the frights pure and not resorting to gore, a cruel gimmick that hurts the audience more than it thrills them.
The sequel opens with a scene hinted at in the first film: like his son Dalton (Ty Simpkins), our hero dad Josh Lambert (Patrick Wilson) was haunted as a child by a malicious spirit. Enter the younger version of Elise, who lost her life in the supernatural struggle to rescue Dalton in the first film. To find the source of the spirit, young Elise hypnotizes young Josh (Garrett Ryan), and he guides her to his bedroom closet. When she opens the door and pushes aside some clothes to reveal nothing but pitch black, she tells the darkness: "Who are you, and what do you want?"
FilmDistrict
Those are the film's best moments: when it confronts the sublime via literal darkness and mystery. Wan pushes these moments of dread from the unknown in some scenes to the point of comedy, mostly via Elise's surviving assistants, Specs (Leigh Whannell) and Tucker (Angus Sampson). "You can't be in here," one spirit, a little girl in pigtails, tells them. "If she sees you, she'll make me kill you." The threat of the unknown from forbidden trespass is encapsulated in those lines. The fact that Specs and Tucker take this warning very seriously verges on humorous because it satisfies that urge to tell the characters on screen to "get out" before anyone can yell their advice at the screen.
If there is fault in Insidious: Chapter 2, it comes in the form of further rationalizing this world Wan has created with writer/actor Whannell. The better horror movies plummet further into the darkness of mystery rather than trying to shed light on the motivations of evil spirits. This second chapter offers further explanation of the spirit world journey that closed the first Insidious. Though some may find relief in this, over-explanation also saps the film of its creepy energy, which Wan works so shrewdly to draw up.
Even though he leans on some cinematic horror tropes, as noted earlier, the film's eerie atmosphere has a signature stylistic flourish. He uses low angles to present his looming haunted houses in shadowy darkness, but Wan serves up a subtle new ambiance for the genre with the help of production designer Jennifer Spence. Bright patches of color here and there liven up the sets, especially a reliance on red accents, be it on doors, stained glass or parts of clothing. But the rest of his world features darker shades of color, often painted thick on nice solid, creaky wood. There is also a whimsy to his sets featuring clouds of fog billowing from out of nowhere and slow fade outs and fades to black, lending a surreal atmosphere to the happenings in Insidious: Chapter 2. There is nothing like the irrational to pull the rug out of reality and unnerve the audience, and the film is at its best lingering and peering at that edge.
3/5
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